SKU: M7.DOHR-98550
ISBN 9790202005507.
Max Regers Auseinandersetzung mit der Musik Richard Wagners geht bis in seine frühe Jugend zurück. 1888 erlebte er in Bayreuth Aufführungen von Die Meistersinger von Nürnberg unter Hans Richter und Parsifal unter Felix Mottl. Bis an sein Lebensende blieb Wagner für Reger einer der größten Komponisten, häufig dirigierte er dessen Vorspiele in Konzerten. 1909 trat Regers Verleger mit Blick auf das kommende Wagnerjahr 1913 erstmals an den Komponisten heran und bat ihn, Orchesterstücke Wagners für Klavier einzurichten. Wegen verschiedener Verpflichtungen und gesundheitlicher Probleme konnte Reger die Bearbeitungen erst 1913 bzw. 1914 fertigstellen. Die Bearbeitungen wurden, bedingt durch die Besetzung mit zwei Klavieren, eher für den Konzertgebrauch konzipiert.
SKU: CA.5220300
ISBN 9790007249519.
The rediscovery of the original manuscripts of Max Reger's works for violin, viola and violoncello op. 131a-d in the Prague Conservatory Library represents a small sensation.These late works for solo strings dating from 1914 and 1915, the last of which appeared only posthumously, were previously known only from their first prints. The three duosop. 131b for two violins were composed within a few days, shortly after Easter 1914; it is particularly in this case that access to Reger's autograph is of great value in terms ofproviding insight into the genesis of the works.
SKU: CA.2431300
ISBN 9790007101619. Language: German.
A publication of the Max Reger Institute. Since the study of Reger is still in its infancy, there is much new territory to discover in Reger-Studien 2 - Neue Aspekte der Regerforschung. Biographical and analytic contributions to various aspects of his works are mixed with a programmatic view of future research, which is in part still incomplete. The volume, edited by Susanne Shigihara ... presents a highly stimulating cross-section, which is sufficient for studies that are biographical to analytical, historical-philosophical to iconographical. (Klaus Ebbeke in the Neue Zeitschrift fur Musik, November 1987).
SKU: HL.48013976
UPC: 073999139761. 9.0x12.25x0.177 inches.
Two Pianos - Four Hands.
SKU: HL.48014248
UPC: 073999752489. 9.0x12.0x0.257 inches.
SKU: HL.49047222
ISBN 9798350106831. UPC: 842819118282. 9.0x12.0x0.334 inches.
The String Quartet in G minor Op. 8 dates from the time when Joseph Haas studied with Max Reger (1905). While reflecting the clear influence of his teacher as to form, it also shows the young composer as an artist with an independent personality as well as a truemaster of his craft.
SKU: HL.49045929
9.0x12.0x0.057 inches.
The Austro-Hungarian composer Erwin Schulhoff (1894-1942) was musically precocious: At the suggestion of AntonÃn Dvorák, he receivedpiano lessons at the age of seven, and at the age of ten became a student at the Prague Conservatory. Further piano studies in Vienna, Cologne and Leipzig as well as composition lessons with Max Reger supplemented his education. His Jewish heritage, which defamed his music as “degenerateâ€, and his sympathy for communism, however, cost him his life. In Prague and finally interned in Wülzburg near Weissenburg in Bavaria, he died of tuberculosis. Schulhoff's musical significance lies in the integration of jazz into art music, for example in his oratorio H.M.S. Royal Oak or in his Hot Sonata for alto saxophone and piano. He earned his living as a jazz pianist for a long time. In August 1922 he wrote four short piano pieces, his Rag Music, to which he added four more phrases in November: released as Partita, also known as Jazz-like Partita - with the fashion dances Ragtime, Foxtrott, Shimmy, Boston and - as No. 7 - a tango. From a piano to a string quartet movement, the arrangement presents itself as a delicate and smart, technically not too difficult sweet, suitable as a diversion or addition in a quartet program.
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SKU: HL.49019413
ISBN 9790001176477. UPC: 841886016729.
The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models - here Baroque movements like gavotte, saraband, gigue - with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire.
